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Setting the scene: The use of art to promote reconciliation in international criminal justice

Published online by Cambridge University Press:  18 February 2020

Marina Aksenova  and
Amber N. Rieff
Marina Aksenova
Affiliation:
IE University, Madrid, Pedro de Valdivia 21, Madrid, Spain, 28008; Art and International Justice Initiative (artij.org) Email: marina.aksenova@ie.edu
Amber N. Rieff
Affiliation:
William & Mary Law School, 613 South Henry St, Williamsburg, VA23185, United States Email: anrieff@email.wm.edu
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Abstract

This article maps out the landscape holding and connecting three interrelated phenomena: art, international criminal justice, and reconciliation. We argue that reconciliation, viewed as a restoration process, is one of the goals of international criminal justice. Yet, its attainment through law is challenging because international criminal justice, strictly construed, is outcome oriented. Art can serve as a ‘bridge’ linking normative legal standards with their reconciliatory aspirations. The key argument is therefore that art has the clear ability to mediate and amplify the law’s restorative potential through three key features. Firstly, art reflects the complexity of the human condition and reserves a place for emotional processing. Secondly, it is a useful relational tool in opening the space for dialogue, the latter being essential for reconciliation. Lastly, art has the capacity to translate legalistic findings into a language accessible to a wider audience.

Keywords

artinternational criminal justiceoutreachpsychologyreconciliation
Type
ORIGINAL ARTICLE
Information
Leiden Journal of International Law , Volume 33 , Issue 2 , June 2020 , pp. 495 - 516
Copyright
© Foundation of the Leiden Journal of International Law 2020

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References

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48 Ibid.

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53 Ibid.

54 Ibid.

55 Adorno, supra note 26, at 8.

56 See also C. Ramirez-Barat, ‘Transitional Justice and the Public Sphere’, in C. Ramirez-Barat (ed.), supra note 14, at 30.

57 Ibid.

58 Ibid., at 225–6.

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73 Cited in The Prosecutor v. Lubanga, Filing regarding symbolic collective reparations projects, ICC-01/04-01/06, T. Ch. II, 19 September 2016, para. 10.

74 Ibid., para. 23.

75 Ibid., para. 41.

76 Ibid., para. 35. For more on art and reparations see M. Aksenova, ‘Art in the Practice of Reparations at the Inter-American Court of Human Rights and the International Criminal Court’, (2020) 43 Suffolk Journal of Transnational Law (forthcoming).

77 Prosecutor v. Lubanga, Order approving the proposed plan of the Trust Fund for Victims in relation to symbolic collective reparations, ICC-01/04-01/06, T. Ch. II, 21 October 2016, paras. 17, 63.

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79 Eliza Garnsey duly notes that the question of agency is complex when it comes to exploring the connection between art and transitional justice. See Garnsey, supra note 14, at 474.

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81 1998 Rome Statute of the International Criminal Court, Art. 75(1).

82 Prosecutor v. Katanga, Order for Reparations Pursuant to Article 75 of the Statute, ICC 01/04-01/07, T. Ch. II, 24 March 2017, para. 297; see also Minow, supra note 13, at 23.

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84 Ibid., Art. 79.

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86 Ibid., at 13.

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105 Ibid.; For an analysis of the role of photography in international criminal justice see also the contribution by R. Oidtmann, ‘International Justice Through the Kaleidoscope of Photography – Thoughts on the Exhibition “Trauma, Healing and Hope” at the International Criminal Court’, ARTIJ Blog, 2 July 2019, available at artij.org/en/blog.html.

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110 Ibid., at 159.

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116 More information is available on the website of the university at www.uwindsor.ca/dailynews/2017-10-10/putting-reconciliation-practice-aim-arts-project.

117 Information available at www.kcl.ac.uk/archive/news/warstudies/art-and-reconciliation, accessed 5 February 2020.

118 More information is available at www.artij.org.

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122 1995 Promotion of National Unity and Reconciliation Act No. 34.

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